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LUCERNE 



THROUGH THE STEREOSCOPE 




UNDERWOOD AND UNDERWOOD 

NEW YORK AND LONDON 



LUCERNE 

****** j-^J- 



A PART OF UNDERWOOD AND UNDERWOOD'S 
STEREOSCOPIC TOUR THROUGH 
SWITZERLAND 



PERSONALLY CONDUCTED BY 

M. S. EMEEY 

AUTHOR OF " RUSSIA THROUGH THE STEREOSCOPE," 
AND " HOW TO ENJOY PICTURES " 




UNDERWOOD AND UNDERWOOD 

NEW YORK OTTAWA, KAS. 

LONDON TORONTO, CAN. 



THr LIBRARY OF < 
CONGRESS, 

Two Confcft Received 

SEP. 8 1902 

Copyright entry 
CLASS *~XXc No. 
COPY 8. 



Copyright, 1902 
By UNDERWOOD & UNDERWOOD 
New York and London 
(Entered at Stationers' Hall) 



Stereographs copyrighted in the United States 
and foreign countries 



Map System 
Patented in the United States, August 21, 1900 

Patented in Great Britain, March 22, 1900 
Patented in France, March 26, 1900. S. G. D. G. 
Switzerland, + Patent Nr. 21,211 
Patents~;apphed 4 f or in other countries 



*AM frights reserved 



GETTING EEADY FOR THE JOURNEY 



If this were to be an ordinary Swiss journey, we should 
need to consider questions of tickets, trains, boats, hotels, 
clothing. As it is, we need not concern ourselves about 
time-tables nor excursion rates, about the choice of inns 
nor of shoes for Alpine climbing. All we have to do is 
to consider the special vehicles we are to use, — the stere- 
oscope and stereograph, — so that we may know how to 
use them in the most profitable and enjoyable way. 

It is not enough to take a stereograph in the hand and 
look at it as we would look at an ordinary picture of the 
same subject. If we do only this, we get only what an 
ordinary picture mignt give us. A stereograph is not just 
an ordinary photograph duplicated and placed beside its 
" double " on a card. It differs fundamentally from a 
duplicated photograph. Take Stereograph 49 (" Looking 
South from the Eggishorn over Ehone Valley ") and look 
at it without the stereoscope. Even so, it is beautiful and 
impressive. You judge there is probably some distance 
between the nearer rocks and snow ridges and those hazy 
mountains in the background. Now use your stereo- 
scope. . . . Have you not made some surprising discov- 
eries about the space relations of what lies before you? 
You do not have to estimate the probabilities of open 
spaces between things. You actually see the open spaces 
as clearly as the things; and you see space in places where 
the mere "picture" gave no hint of its existence. 

The difference between an ordinary photograph and a 
stereograph is this: An ordinary photograph of a given 

27 



28 



GETTING READY FOR THE JOURNEY 



scene is taken by the use of one lens, giving us just what 
we might see with one eye from that particular stand- 
point. A stereograph is taken by the use of two lenses 
side by side (between two and three inches apart), giving 
us just what we might see with our full equipment of two 
eyes; and this is quite another matter. The right eye, by 
virtue of its location in the head, has a chance to see 
farther towards or around the right side of any solid ob- 
ject before us; the left eye is able to see to a greater 
extent towards or around the left side of the same object. 
Using both eyes at once, as we do in everyday experience, 
we practically see part-way around solid objects. 

Try it. Take this very book and hold it (closed) at 
arm's length, directly before you, the back towards you. 
Shut the right eye and look with the left only; you see 
not only the back but also part of the cover on the left 
side. Close the left eye and look with the right, keeping 
the book in the same position; you now see the back and 
a part of the cover on the right side. Look with both 
eyes; you get an impression of both covers at once as well 
as the title-back. You practically see around it; conse- 
quently it looks solid, as if it had, in truth, thickness 
as well as length and breadth. 

The right-hand print on any stereograph card presents 
what one would see with his right eye if standing just 
where the camera stood. The left-hand print on the 
same card shows what one would see at the same moment 
with his left eye. The difference between the two views 
of any distant object is so slight that very often it can- 
not be detected in the stereograph without carefully exact 
measurements and comparisons, but the difference always 
exists. Examine, for instance, Stereograph 69 ("Inn 
where Napoleon Stopped, Bourg St. Pierre. Eoad to the 
Great St. Bernard Pass"). The building in the fore- 
ground shows an evident difference between the two 



GETTING READY FOR THE JOURNEY 



29 



prints, Look carefully at the right-hand end of the little 
one-story building, and you will find it appreciably wider 
in the right-hand print, narrower in the left-hand print. 
The right lens or eye of the camera saw farther around 
to the right than the left lens could see. 

Stereograph 67 shows a variation even more striking. 
See what different reports the two eyes give as to the 
relation of the clock-face and the distaff. 

In ordinary, healthy vision, we are not conscious of re- 
ceiving two different reports from our two eyes. The 
mechanism of our visual organs is such that when looking 
at solid objects in nature, our two impressions get fused 
into one. When the two prints of a stereograph are in 
question, we need the optician's help to fuse those two 
impressions into one. The needed service is rendered by 
means of the carefully set lenses of the stereoscope. 
Viewed through the stereoscope lenses, at a distance suit- 
able to one's own eyes (the distance varies with different 
people), the two prints are seen as a unit and solid objects 
" stand out " in space exactly as if the reality were pres- 
ent. For all practical purposes of seeing, the reality is 
present. For a curiously striking bit of testimony to the 
faithfulness of a good Swiss stereograph, just read, in 
the notes on Stereograph 85, what an English mountain- 
climber wrote home in regard to the ascent of Mont Blanc 
from Pierre Pointue to the Grands Mulets. 

And we see objects, people, buildings, all details, in 
their full size. Suppose while standing within six inches 
of your window you look out and see a man on the street 
corner, a dozen rods away. He is a man of average height. 
But if you were to scratch his image on the window pane, 
just as it lies there, showing how much space that image 
really occupies on the glass, your drawing would be only 
a fraction of an inch high. A very small image near the 
eye thus corresponds perfectly to a much larger object 



30 



GETTING READY FOR THE JOURNEY 



that is farther away. It is in accordance with this 
general principle that stereographic figures of men and 
women, houses, trees, all sorts of things, when seen 
through the stereoscope, are experimentally identical with 
full-size objects considerably farther away; that is, if 
the focal length of the camera, the distance from the 
lenses to the plate, and the focal length of the stere- 
oscope, the distance from the lenses to the stereograph, 
correspond. As a matter of fact, the eyes receive 
from the details of the stereograph, a few inches dis- 
tant, images of exactly the same size as the images that 
would be received from the actual things at the actually 
greater distance, if the observer stood just where the 
camera stood. When one studies a stereograph, he is 
therefore practically looking through the card and seeing 
the real things, full-size, 'beyond it. That is what the ex- 
perience really amounts to! 

One other thing about stereographs should be noted 
beforehand. When seen, as they should be, through a 
stereoscope, they fill the whole field of vision. The hood 
of the stereoscope shuts out all irrelevant sights, leaving 
us in the presence of whatever the stereoscope has to 
give us. This separation from immediately surrounding 
things makes it easily possible to put those out of mind 
and to think only of what is before the eyes. 

It is distinctly worth while to give each stereograph 
this undivided attention, realizing that, for the time, as 
far as our inner experience goes, we are actually in the 
presence of whatever the stereograph has to reveal. 

But, unless we have a clear notion of the locality in 
question, our feeling of actual presence might be partly 
fanciful "make-believe." It should not be mere make- 
believe. It should be, and can be, a deliberate, purposeful 
exercise of the imagination (or the memory), with a basis 
of accurate knowledge about the lay-of-the-land. The 



GETTING BEADY FOE THE JOUENEY 



31 



maps prepared to accompany these Swiss stereographs 
will be found invaluable helps to clear, correct thinking 
about the location of each successive point of view and its 
relation to those which precede and follow. In this Swiss 
tour we are to take one hundred different standpoints, in 
various parts of Switzerland. Each one of these one hun- 
dred standpoints is plainly located on one (sometimes on 
several) of the maps, being in each case at the (numbered) 
apex of a V printed in red. The spread of the arms of 
the V indicates the range of the view obtained from the 
standpoint at the apex. Reference to the proper map 
shows us exactly where we are to locate ourselves men- 
tally; it shows us in what direction we are to look; it 
shows what must be behind us, what must lie off at our 
right and at our left. Map 1 gives the whole route, in- 
dicating the advance by a continuous red line. Maps 2- 
11 give more detailed particulars. 

Do not fail to use the maps. You will find that the in- 
creased definiteness in your understanding of the scenes 
and the increased vividness of your sense of location will 
repay you times over for the slight trouble of turning to 
look for the information they have to give. 

The study of a stereograph in the manner suggested 
here does actually lead one through the mental experi- 
ence of being in the place itself. This experience is not 
fanciful, but real. It has to do, not with mere dull, 
material facts, but with facts of consciousness, — facts of 
mental attitude and action. 

Think a minute what is the nature of the experience 
which you value most when you visit some place pre- 
viously unfamiliar. The mere bodily experience of being 
in personal contact with a certain street pavement or a 
certain gravel path is not what you value most. The 
smells in the air, the noises of traffic — these you seldom 
care to recall in any detail. What is it that you do regard 



32 



GETTING READY FOR THE JOURNEY 



as most precious ? What do you strive, over and over, to 
reproduce in memory? Surely the experiences that came 
through your intelligent use of the sense of sight.; the 
feelings you had when you saw with your eyes how 

"The splendor falls on castle walls 
^ And/. snowy summits, ".old in story." 

And it is precisely this experience, obtainable through 
the sense of sight, which stereographs give when they are 
utilized intelligently. As we have just reminded our- 
selves, we receive absolutely the same visual impressions 
of the forms of things that we might receive from the 
material things direct. If to these visual impressions we 
add a definite, clean-cut knowledge as to what things or 
places lie at the right and left of our field of vision, if we 
have some clear notion what is behind us and what lies 
ahead of us beyond the immediate limits of a particular 
view (and this is what the figured maps are for), if we 
thoroughly understand what we are seeing, we do have, 
to all intents and purposes, the mental experience of being 
on the spot. We have the feeling of being on the 
spot. And it is this mental and spiritual experi- 
ence which counts. The cows f eeding on a Swiss " alp " 
or mountain pasture experience all the physical facts of 
seeing Swiss scenery, but they never attain to the truer 
mental and spiritual reality of seeing Switzerland with 
the mind. The material facts are only the raw stuff out 
of which genuine realities may be wrought in the work- 
shop of the receptive, active mind. 

Of course, stereographs have their limitations. They 
do not at present give us color. But they do give us, in 
the most exquisite fashion, what the painter calls " val- 
ues " — degrees of lightness and darkness corresponding 
to the luminosity of the actual colors; and, after a little 



GETTING READY FOR THE JOURNEY 



33 



practice in looking for those beautiful gradations of value, 
the pleasure to be gotten out of that kind of effects is so 
great that one can accept the absence of actual hues. 
Look at Stereographs 13, 14, 15, 16. It is true, we should 
be richer if we could see actual blues and greens, russets 
and browns and olives and gold; but we are passing rich 
even as it is, if we just use our eyes. 

Stereographs do not give us the actual, physical sensa- 
tions of varying atmosphere, temperature, and so on. 
That is true, and loss is implied in the fact. But it may 
not be frivolous to recall to mind that there are some ad- 
vantages as well as disadvantages in omitting the physical 
experience of winds and waves and arctic cold. If one 
" averages " the reminiscences of returned travellers, it 
would appear that experiences of discomfort are those 
which ordinarily make the deepest impression. We who 
travel by stereograph have the privilege of counting up 
some gains as well as losses on this account. 

And stereographs do not give us motion. They do 
give, to a wonderful degree, the effect of motion in some 
of its most beautiful phases. Take Stereograph 43 
(" Beauty and Splendor of the Engadine; looking South- 
west from the Hahnensee to the Maloja"), an( i see if 
the airy sweep of those light clouds across the sunshiny 
sky is not absolutely real, to a person with a bit of 
imagination. Here, again, a certain loss inherent in the 
fixity of a stereographic print is partially balanced by a 
gain inherent in the very same fact. How many times 
have we ourselves said, in the face of some experience 
direct with nature, " Oh, if this could only last, just as it 
is!" But it doesn't. The stereographs give us an op- 
portunity to repeat any given experience again and again. 
We can go back and look up at the Matterhorn as many 
times as we like and find the selfsame inspiration in its 
eloquent gesture. 



34 



GETTING READY FOR THE JOURNEY 



These, then, are our travelling directions: 

Consult the maps frequently in order to get a clear idea 
of your location. 

As a rule, it will be well to read the notes about each 
stereograph before looking at it, returning to the notes 
as often as may Le desired when studying details of any 
particular scene. 

Be sure to have a strong, steady light on the stereo- 
graph while studying it. If practicable, let the light fall 
over your shoulder and on the face of the print. 

Take time. Go slowly. Go again and again. It would 
be impossible to take in at a glance all the interesting 
and valuable contents of any stereograph in this Swiss 
tour. If dismissed with a glance, it has not had a chance 
to give what it has to give. 

The study of the stereographs, one after another, on 
this plan, can give the larger part and the better part of 
whatever actual travel gives. There are people who 
make long journeys to famous places merely for the sake 
of being able to say they have been there. Stereographs 
will not satisfy that cheap ambition. There are people 
who go about writing their names on observation towers 
and chipping little bits of stone off famous monuments to 
carry home in their pockets. Stereographs cannot be of 
much use to travellers of that poor sort, either. But, with 
most of us, the chief satisfaction and joy of travel con- 
sist in seeing the grandeur and beauty of "this goodly 
frame, the earth in seeing how the world looks in spots 
made famous by great events or by men who lived there; 
in seeing how other men live now, and what sights of 
earth and sky are woven into their daily life-experience. 
If this is what we want, the sensible, thoughtful use of 
stereographs cannot be overestimated as a practical means 
of enlarging our knowledge and multiplying our delight. 



LUCERNE 



LUCEKNE 



Look first at the same general map which we have con- 
sulted before (Map 1) and find Lucerne. It is about 
twenty miles southwest of Zurich, at the northern outlet 
of Lake Lucerne. This gives us our idea of its location 
in Switzerland as a whole. It is forty miles south of the 
German frontier, and about midway between the lands 
of Prance and Austria. 

Row look at Map No. 2, where the region around the 
lake is taken out of the whole country and enlarged. 
The mountains evidently have the right of way and the 
lake occupies such room as there is left between them, 
doubtless making up in depth what it cannot have in 
width. A zigzag line runs from the red 6, in the upper 
left-hand corner of the map, to the spot where we are to 
stand next. You see by the spreading of the red lines 
which mark the limits of our vision f rom that point that 
we shall be looking a little south of east, across the re- 
markably crooked bed of the lake and over toward the 
mountains on the eastern shore. 

6'. Lucerne and Her Beautiful LaJce] 

Here at last are the mountains! See how they rise, 
one beyond another, as far as we can see towards the 

52 



THE TOWN OF LUCERNE 



53 



southeast. Those farthest peaks must be the Mythen, 
over in Schwyz, the little canton whose name has come 
to he applied to the whole country of which it is geo- 
graphically a small part. The dark ridge at the extreme 
left is the Rigi, a favorite point from which to get a 
broad, comprehensive view of the Alps. People used to 
climb it on foot or on mule-back; now there is a cog- 
wheel railway that takes you up to the big hotel on the 
summit in time to see the sunset and the after-glow, and 
brings you down again after you have watched the sun rise. 

Meanwhile here is the town of Lucerne, nestled under 
the hill where we stand. We must see something of 
Lucerne, for it is one of the quaintest old towns in Swit- 
zerland. Turn to Map No. 3 and you have a still further 
enlargement of a little district just at the head of the 
lake, including the town and some of the immediately 
surrounding hills. Our standpoint is repeated on this 
map (note the red 6 with its diverging lines starting from 
near the left edge of the map), and now we can identify 
many of the places of interest we see in the city by re- 
ferring to this map. 

The general character of the big, bare, stone houses is 
like St. Gall. 

The river Reuss is flowing towards us under those 
bridges yonder. It speeds along through the old town 
to pour itself into the Aare, and, by way of the Aare, into 
the Rhine. The waters that we see here are on iheir 
way to Holland and the North Sea. 

Some of the bridges over the Reuss are curious old 



54 SWITZERLAND THROUGH THE STEREOSCOPE 

structures. The farther bridge that we see now, — the 
one nearest the lake, — is modern, and so is the one near- 
est to us; but the one between them, which stands diagon- 
ally across the stream, with a tower just beyond it, h a 
relic of the middle ages, the Kapellbrucke. We will go 
nearer to it by and by, for it is a famous old structure, 
<me of the curiosities of Lucerne. The statement has 
been made that the tower was in the old Roman days a 
lighthouse (lucerna), and that it gave the town its name; 
but the best authorities think it belonged to a mediaeval 
system of fortification, intended to protect the town from 
the approach of enemies by water. 

That is a Jesuit church which we see near the bend of 
the river. It was built in the seventeenth century, and 
just behind it stands a government building which was in 
old times a Jesuit college. The public museum is just 
this side of the old college, guarding a wealth of local 
curiosities and historic relics which it would be interest- 
ing to see. The fine buildings farther up the river bank, 
toward the lake, are modern theatres and hotels. 
Lucerne is one of the most popular tourist centres in 
all Switzerland. 

Look for the big dome of the St. Gotthard railway sta- 
tion, just over the twin towers of the old church. A railway 
station is not in itself a thing of beauty or romance — but 
this particular railroad is both beautiful and romantic. 
We shall come upon it in several places as it climbs over 
the Alps towards Italy. Lucerne and Milan are the ter- 
mini of the line. 



THE OLD KAPELLBKUCKE, LUCEENE 



55 



Look at the lake once more before we cross the river 
to the other part of the town. Yon can see from here 
a little of its irregularity, though to appreciate that fully 
you should look down on it from some neighboring 
height. 

The long, low wooded hills directly opposite us are, 
you see, not at the foot of the Kigi, but on the point of 
land called the Meggenhorn (see Map 2), separating two 
of the lake's many deep bays. At the right of the Meg- 
genhorn, near that farther stretch of water below the 
mass of the Eigi range, is a tiny strip of land only about 
two miles by three, Gersau, which was for four centuries 
the smallest independent state in all Europe. The peo- 
ple bought their freedom from the ruling nobles, and 
from 1390 to 1798 were governed by a council of their 
own. Then the French broke up their independence and 
after a while the district became a part of the canton of 
Schwyz. Truly one has to come to Switzerland to find 
the practical beginnings of modern democracy. 

If we go down from this high hill where we now 
stand, at the western edge of the town, we can get a 
nearer view of the old Kapellbriicke and the Water 
Tower, before we cross the river. The red lines con- 
nected with the number 7 on Map No. 3 show what are to 
be our position and field of vision. 

1 7. The Picturesque Bridge, Tower and Chuvch7 { of 
Old Lucerne] 

What a queer, rambling structure the old bridge is. 
We see now that it is even more irregular in direction 



56 SWITZEELAND THROUGH THE STEREOSCOPE 

than it appeared to be when we were up on the hill, look- 
ing down. We can see, too, that the overhanging roof 
leaves open spaces at the side for air and light. Passers 
wish there might be even more light inside, for this bridge 
has a most unusual feature; it has painted pictures hung 
from the rafters for the instruction of those who pass 
over. There are over seventy pictures to be seen as you 
pass along, though age and a dim light make them more 
or less indistinct. If you cross in one direction you can 
observe a sort of sectional picture-book of early Swiss 
history. Returning, you see another set of seventy-odd 
pictures, — a series of scenes in the lives of St. Maurice 
and St. Leodegar. Farther down the Eeuss at our left 
(out of sight from where we stand now) is another simi- 
larly covered bridge, where there are curious old allegori- 
cal pictures showing the approach of Death to different 
kinds of people, — to an old man, a young bride, a prince, 
a beggar, — all sorts and conditions of men. You remem- 
ber Longfellow in the " Golden Legend " makes Elsie 
and Prince Henry cross that bridge on their journey to- 
wards Italy, lingering to talk over the ideas of the differ- 
ent panels. 

We are looking now nearly northeast. The church 
with the cylindric tower over near the farther end of this 
bridge is St. Peter's. The church with two towers, far- 
ther up on the slope of the hill, is the Hofkirche. 
Lucerne is strongly Eoman Catholic in its religion. We 
must go over on that hill behind the Hofkirche to get a 
view of the mountain magnificence that lies behind us 



THE LION OF LUCEENE 



57 



now; but, on the way, we will make a detour to the left, 
up that street where we can trace the row of buildings 
leading obliquely over the hill. That is the Street of the 
Lion, — the Lion of Lucerne, that we have known all our 
lives in casts and photographs and wood-oarvings. Map 
No. 3 shows, with a red 8 near its northern margin, the 
location of the famous rock-sculpture. 

8. The Lion of Lucerne 

Art critics may discourse as wisely as they like about 
the sentimentality of Thorwaldsen's conception, and its 
inaccuracy in the matter of zoological anatomy; the fact 
remains that there is something very dignified and 
pathetic in the effect of this unique monument. It is 
carved, as we see, in the face of a ledge of sandstone. 
Water trickles over the face of the ledge and is gradually 
wearing off some of its lines. We can read easily the 
Latin inscription over the carved recess: "To the faith- 
fulness and valor of the Swiss"; but parts of the detailed 
inscription below are becoming illegible. The sculpture 
itself is about twenty-eight feet long and eighteen feet 
high. We all know the story. A regiment of eight hun- 
dred Swiss soldiers, sworn to the service of Louis XVI of 
France, were the appointed guards of the Tuileries on 
that fateful August day in 1792 when the King was sum- 
moned before the popular assembly. As soon as the 
royal family had left the palace a howling mob rushed in 
to take possession. The leader of the mob ordered the 
Guards to surrender their charge. One of the Swiss 



58 SWITZERLAND THROUGH THE STEREOSCOPE 



officers answered: " What you ask is an insult. The Swiss 
do not give up their arms. "We will not leave our post of 
duty." 

There were eight hundred Swiss, hut the rioters num- 
bered thousands. The Guards fought well; each man de- 
fended his place till he was overpowered and murdered; 
but at the end of the day the palace was sacked and set 
on fire. Every Swiss was dead. 

It was some fifty years later that the Danish sculptor, 
Thorwaldsen, designed this memorial. The lion means, 
of course, the Swiss, strong and fearless. The shield 
with the Greek cross is an emblem of the home-land, 
Switzerland. The shield with the fleur-de-lis is the em- 
blem of France. A spear has killed the lion, but even 
as he dies he guards the emblems of both lands, his head 
sinking on the lilies of France. 

The Swiss had for several centuries the custom of en- 
tering the military service of other nations, and the fact 
has sometimes been used as a reproach. But there are 
always two ways of looking at a thing. Said a critical 
foreigner one day to a Swiss: " The difference between 
us is, you fight for money, — we fight for glory." 

"Yes; — we both fight for what we haven't got/' 

Map No. 3 shows marked with a 9 a place on this same 
hill, a few rods east of the Lion, a good standpoint from 
which to look back, southward, across the outlet of the 
lake. Now look at the upper left corner of the preced- 
ing map, No. 2. Here the proposed standpoint 9 is 
located in such a way as to show what there is to see 



PILATUS AND ITS LEGENDS 



59 



beyond the lakeside town. We shall look across to Mount 
Pilatus, — Pilate's Mountain. 

9. Lucerne and the Lofty TUatus 

This magnificent peak was all the time behind us, a 
little at our right, while we stood on the hill west of the 
town looking down on the river (Stereograph 6). The 
building with the two steeples, just before us, is the Hof- 
kirche, a sixteenth-century church that we noticed when 
we were standing by the farther end of the Kapellbriicke 
(Stereograph 7). We can see just a bit of the bridge 
now, with the old Water Tower beside it, at the extreme 
right, over the roof of that enormous hotel. The open 
bridge, at the left of the Water Tower, is the one which 
we saw before at the right of the tower (Stereograph 7). 
The elegant modern buildings near the end of the bridge 
are the hotels which we noticed before. That is the St. 
Gotthard railway station at the left, opposite where we 
stand. 

How big and grim the mountain towers, over there 
above the town. There is no end to the strange stories 
about Pilate's Mountain. The legend is that the old 
governor of Judaea, falling into disgrace with the em- 
peror, was thrown into prison at Eome and there killed 
himself. His body was refused formal respect and 
merely thrown into the Tiber; but the river refused to 

\d the remains of so vile a man, and showed its wrath 
(Jreadful storms and floods, so that the corpse had to 



60 SWITZERLAND THROUGH THE STEREOSCOPE 

be taken out again. It was taken to Lyons and cast into 
the Khone; but the Rhone likewise rebelled with violent 
storms. It was offered to Lake Geneva, but the lake rose 
in righteous wrath and would have none of him. This 
mountain overlooking Lake Lucerne had a lake away up 
near the summit. The cursed body was taken up there 
and the lake was allowed to rage as much as it liked, un- 
able, on account of its remoteness, to do much harm; and, 
after a while, a wise and holy man managed someway to 
bring about an agreement between the spirits and the 
plain people living in the neighborhood. The lake was to 
be kept reasonably quiet all but one day each year. On 
Good Friday Pilate^s unquiet ghost was to be free to 
roam about the mountain to relieve its awful misery; but 
whoever approached it on that day did so at his peril. 
One glimpse of the spirit's flame-red robe meant certain 
death to any mortal reckless enough to try the experi- 
ment of a Good-Friday excursion up the mountain. In 
fact, it was seldom anybody dared go up at any time of 
year. In 1387 six priests who made the ascent were 
actually imprisoned, on their return, for doing a thing 
which might prove so dangerous to the villagers! As late 
as 1518 four men who had the courage to climb the 
mountain had to sue for the permission of the govern- 
ment before they made the ascent. 

And these are not the only strange tales that are told 
about Pilatus. Local records gravely declare that about 
five hundred years ago a village cooper, climbing up the 
side of the mountain, fell into a cave inhabited by huge 



THE ASCENT OF PILATUS 



61 



dragons. He lived there for six months in mortal terror 
of the supernatural creatures; then one day, when one of 
the dragons flew out of the opening in the roof of the 
cave, the cooper caught hold of the monster's tail and 
rose with him into the air, dropping after a while to the 
ground, safe and well, and going home to cheer his 
mourning family. And how can we refuse to believe this 
tale, when the church here within a stone's throw of us, 
owns a communion service given to it by the thankful 
cooper, all engraved with pictures illustrating his exciting 
adventure? Another man saw the dragon too. The 
beast was flying across from the Kigi (behind us and to 
our left) to Pilatus, and dropped a dragon-stone in pass- 
ing. Moreover, the dragon-stone is at this very day in 
the museum building over near the Jesuit church at the 
other side of the river! And as for such comparatively 
unremarkable neighbors as gnomes, they used to be com- 
mon all over the wooded and rocky slopes of Pilatus, — 
wee men about a foot high, with long, white beards and 
bright red caps, exactly as we knew them in our child- 
hood's fairy stories. Pilatus used to be a wonderful 
mountain! 

To-day the Lucerne folk seldom look to Pilatus for any 
more occult experience than a foresight of the weather. 

" Hat Pilatus seinen Hut, 
Dann wird das Wetter gut. 
Tragt er aber einen Degen, 
So giebt's wohl sicher Regen." 

If the peak has merely a cap of cloud, fine weather is to 



62 SWITZERLAND THROUGH THE STEREOSCOPE 

be expected; but if a streak of cloud cuts across the top, 
that means rain. 

It seems almost brutally prosaic to ascend this storied 
mountain in a railway train and eat dinner in a hotel on 
the summit, but times change, and we might as well 
change with them. Besides, the view from that sharp- 
pointed peak up there, the central pinnacle of the whole 
mass, is something never to be forgotten. 

Map No. 2 shows our route to the top of Pilatus. We 
can go by rail (a branch of the St. Gotthard railway) from 
the station opposite here, following south along the lake 
shore to Stad, or we can go to the same point by a little 
steamboat. At Stad we take seats in another railway 
train and climb the mountain. At first the road runs up 
through fields and beech woods; then we pass through a 
belt of pine forest; above the pines comes a region of high, 
open pastures; and then, above even the pastures, we 
come to bare cliffs. We mount over 5,300 feet in a dis- 
tance of two and three-quarters miles. The figure 10 in 
red, part way up the mountain slope, as shown in Map 
No. 2, shows a point where we can stay for a few minutes 
to study the wonderful construction of the railroad. 

10. An Alpine Elevator to the Clouds ; Mount Pilatus 

If the sight of the finished road makes you a bit dizzy, 
think of the workmen who hung, suspended by ropes from 
the cliffs above, while they hewed at the rocks and made 
ready the blasts for this marvelous road-bed. The road 



THE SUMMIT OF PILATUS 



63 



rises at an angle of from 42 degrees to 48 degrees, a large 
part of the way. Sometimes it lies along an artificial 
shelf, sometimes it bores through a mass of rock; both 
open track and tunnel we can see here. 

The cross-barred planks alongside the railroad track 
furnish a path where one can climb on foot if he prefers; 
but, as for safety, the railroad track and the cars are 
admirably planned. Cogs on the centre rail fit corre- 
sponding parts in the running gear of engine and car, 
making it possible to stop instantly and stand locked ab- 
solutely fast, however steep the incline. Trains go up to 
the summit in about an hour and a half, moving two hun- 
dred feet in a minute, but going down the advance is 
made more slowly. All the bridges are of solid masonry. 
It is a wonderful piece of engineering, and it was accom- 
plished in about four hundred actual working days. 

Look once more at Map No. 2. A little above the 
point marked 10, where we made our last observations, 
there is another point marked 11. We will pause again 
there and look north to the summit of the mountain. 

11. The Summit of Historic JPilatus 

You remember that when we were down in Lucerne 
near the Hofkirche (Stereograph 9), we noted one par- 
ticularly sharp peak on the summit? Here at the right, 
just ahead, is that very pinnacle, the railway curving 
around its base. That is an old hotel which you see 
standing at the end of the railway — (you can see its dark 
roof -line against the sky); it is nowhere near capacious 



64 SWITZERLAND THROUGH THE STEREOSCOPE 

enough for the tourists who mount to the summit since 
the railway was built, Now that huge new hotel at the 
left is none too large. What would the sixteenth-cen- 
tury cooper think of this modern throng of tourists, — 
the cooper who fell into the dragon's cave and gave the 
communion service to the church in gratitude for his de- 
liverance from this haunt of demons! 

The zigzag lines up the steep slopes just in front of 
us? Those are old bridle paths and foot paths used by 
mountain climbers before the completion of the railroad. 
The section: of path which we see here is simple and safe 
enough, but there are parts of the ascent where one needs 
a sure foot and a steady head, and where any venture- 
some wandering from the accustomed track can be under- 
taken by a stranger only with some risk of breaking his 
neck. 

We begin now to see how difficult it is to make a cor- 
rect estimate of dimensions and distances up here among 
the mountains. At the first glance, we might take that 
mass of rock at the right to be the size of a cottage house; 
but — no! We recognize the dark line encircling its base 
as the railroad track. It is as wide there at the foot of 
the cliff as it was when we just looked at it below the 
tunnel (Stereograph 10). We realize, after a little effort, 
that the height of the rock-mass is more like that of an 
enormous cathedral! We shall meet with more and more 
just such deceptive sights as we continue our journey. 

Now a glance at the maps in order to get our bearings 
for our next position. Map No. 2 shows that our stand- 



"THE BACKBONE OF EUBOPE " 



65 



point is to be at 12, on the top of the mass of rock whose 
height we have been trying to estimate. The lines 
diverging from 12 actually extend and spread far beyond 
the limits of this little map, No. 2. We can see their real 
range better by turning back to the general map of Swit- 
zerland (Map No. 1). There we see the southern outlook 
from Pilatus plainly marked out by the lines diverging 
from the figure 12. Their length shows that we are to 
see a distance of between forty and fifty miles, over into 
the Bernese Oberland. 

12. The Backbone of Europe, from the Summit of 
Pilatus 

This is a view that cannot be taken in hastily. It is 
impossible that we should estimate distances correctly at 
first; but let the eye proceed gradually outward and we 
begin to see that everything is greater than it first looked 
to be. This knoll down below us in the immediate fore- 
ground is — no, it is not precisely a " knoll " after all. It 
is much larger and much farther away than it seemed at 
first. The doll-like figures of those men down there help 
us to realize the distance at which they stand. The snow- 
streaked ridge beyond is at least three times as long as it 
looks, and the rounding dome at the farther end of the 
ridge is a summit called the Matthorn, only a few hundred 
feet lower than our own standpoint. 

As we stand now the town of Lucerne is behind us, and 
the lake is down at our left side. 

What a (magnificent mountain wall we see before us at 



66 SWITZERLAND THROUGH THE STEREOSCOPE 



the south! They are the peaks of the Bernese Oberland 
that stand there, apparently crowded into a compact mass. 
We shall thread our way in between those peaks and see 
them much nearer. Here we get only a general idea of 
the way in which their broken, ice-clothed masses stand 
like a dividing barrier across central Europe. Just think 
how much the history of the nations has been shaped by 
the uncompromising stand of the Swiss mountain ranges! 
The farther, southern slopes of the Alps face the blue 
Mediterranean. The rivers on that side run into the 
Adriatic Sea. The land on that side is the home-land of 
the old Eoman Empire. Though the Soman power did 
creep up into some of these Swiss valleys it never spread 
northward, this way, in any great overwhelming tide. 
The sturdy Germanic folk were never swallowed up in 
that great political " combine." Their geographical sep- 
aration kept them a sturdy, primitive folk, full of vigor, 
ignorant of the demoralizing subtleties and refinements of 
the old civilization. Had these mountain walls not stood 
here, — had the Eoman legions established the imperial 
eagles all the way up to the North Sea, we should have a 
very different history of Europe to read now. Just what 
the history might have been we can theorize for ourselves; 
but we can be sure that the growth of European civiliza- 
tion would have shaped itself in some entirely different 
form. 

We can identify a few of the most famous peaks in the 
Oberland range there before us. You see a pointed sum- 
mit at the extreme right? That is the Tschingelhorn. 



"THE BACKBONE OF EUROPE " 



67 



The one at the left of that outermost peak is the Breit- 
horn. 

The Silberhorn and the Jungf rau are the two still far- 
ther toward the left. Next yon see a larger pyramidal 
mass, quite dark, on this northerly side? That is the 
Eiger (or " Ogre and the snow-covered Monch is be- 
yond, seen around the Eiger^s left shoulder. 

That curving valley almost exactly opposite where we 
stand (the valley that curves around toward the left 
among those distant mountains like a gleaming shell) is 
the nest of the Lower G-rindelwald Glacier. We shall see 
that much nearer by and by. The first sharp-pointed 
peak that stands up distinctly against the sky at the left 
(that is, at the east) of the glacier, is a part of the Fie- 
scherhorn. The next in view against the sky is the Wet- 
terhorn (the " Storm Peak"); beyond that is the 
Schreckhorn, or Terror Peak; and still farther to the 
east the Finsteraarhorn (Dark Eagle Peak) ends the series 
of those most conspicuous horizon notches. 

Fifty years ago hardly any of those mountain summits 
had been climbed. They were regarded with far-off won- 
der and awe and more or less superstitious fear. To-day 
there are men who know them all with the intimate 
friendship of skilled mountaineers. Every peak that we 
see has been climbed by ardent Alpinists, and every peak 
— so they say — has its own special glories and terrors. 

Shall we go back, down to the level of Lake Lucerne, 
and see something of its shores? The waters reach out 
in ail directions between the mountains, making the lake 



68 SWITZEELAND THKOUGH THE STEREOSCOPE 



as a whole extravagantly irregular in shape. See Map 
No. 2 where the shore is all outlined. Excursion steam- 
ers are continually going and coming around those points 
and into those deep bays. We can easily get passage 
across to Brunnen on the farther shore, directly east from 
Pilatus. Do you find the place? It is just at the east- 
ernmost part of the lake where there is a sudden turn in 
the shore line from east-and-west to north-and-south. 
A mile out from Brunnen there is a hill called the Axen- 
stein, from which we can get a particularly good view 
back across the lake, towards Pilatus. The spot is 
marked 13 on the map, and the lines connected with this 
number show that we shall be looking due west. 



$" m 13* The Lake of Lucerne from the Axen stein 

This Axenstein is counted only a hill, here in Switzer- 
land, and yet the hotel terrace, where we stand, is one 
thousand feet above the water. The wooded slope 
straight before us, at the left, is a part of what the map 
calls the Sonnenburg. It is historic ground, for a little 
farther south (i.e., to the left) on the lake shore, is the 
spot where, in 1307, representatives of the three cantons of 
Uri, Schwyz and Unterwalden had their famous meeting 
and swore to stand by each other in the struggle to make 
Switzerland free from Austrian domination. According 
to tradition, William TelFs famous leap from the boat 
was made a few miles to our left, on the side of the lake 
where we are now; and Gessler and his men, after losing 



LAKE LUCERNE FROM THE AXENSTEIN 69 

their prisoner, are said to have gone along past this very 
shore and landed at Brunnen, a mile farther to our right. 

You can see from here a bit of the irregularity of the 
lake-shore. The greatest area of waters is out of sight, 
behind that dark, precipitous hill which stands opposite 
the Sonnenburg. That long ridge just west of us, above 
the farther shore, is the Burgenstock, and above the Bur- 
genstock in the distance we see Pilatus again, towering 
over the surrounding country. We can easily make out 
the highest point, where we climbed to get our view of 
the Bernese range. (Stereograph 12). 

Just* think how enormously deep the water must be in 
this crooked crevice between the mountains. The little 
steamer away out there by the second point of land is to 
the water's depth like what a dry leaf might be on the 
surface of an ordinary lake. All the lake excursions are 
beautiful here, but so are the walks and drives. Do you 
see the road along the northern shore, where it clings to 
the foot of the mountain-side over yonder, just above the 
shore line? Every rod of that road has its own beautiful 
views over the lake, but perhaps there is no one any finer 
than this from the Axenstein. 

Just see how tenderly the air enfolds those distant 
mountains and softens their hard lines into gentle hazi- 
ness. Farther and farther away, paler and softer and 
more hazily, mysteriously charming — that is the way with 
the Swiss peaks. They peer over each other's shoulder 
to call us with their strange, fascinating language of form 
and color* 



70 SWITZEKLAND THROUGH THE STEREOSCOPE 



No wonder that Lake Lucerne is beloved of travellers! 
It has attractions of every sort, — the grandeur of the 
mountains, the fascination of these irregular shore lines 
(how they do make you wish to explore and discover what 
lies at the other side of those promontories!) the romantic 
history of the region, and then, with all the rest, the won- 
derful feats of engineering that have been accomplished 
hereabouts during the last few years. The St, G-otthard 
railway runs along this shore where we stand now; its 
tracks occupy a shelf cut in the rock below the level of 
this terrace, between us and the water. Farther south, 
towards Fluelen, both the railroad and the highway are 
cut out of the mountain-sides or tunnelled through, and 
the picturesque results are worth a special journey. 

Map No. 3 shows how the lake-shore runs north and 
south between Brunnen and Fluelen. We will go down 
as far as the point marked 14 and get another glimpse of 
the shore at a point half-way down to Fluelen. 



14. SisiJcon and the^Mighty TTri-MothstocJc 

Is it any wonder that people flock to Switzerland from 
more commonplace regions? Leslie Stephen years ago 
called the land of the Swiss Eepublic " the Playground of 
Europe," and the affectionate title has clung to it evel 
since. 1 J ^ | r i\ IjFl 

"I asked myself, — is this a dream? 
Will it all vanish into air? 
Is there a land of such supreme 
And perfect beauty, anywhere? 99 



SISIKON AND THE URI-KOTH STOCK 



71 



When we penetrate into the heart of the mountains, as 
we shall, by and by, their solemn vastness and severity fill 
the whole mind; but here it is different. Though we look 
up to those icy wastes of the Uri-Kothstock, we have this 
cosy village close at hand, looking as cheerful and con- 
tented as if it were sunning itself in the centre of an 
American prairie. 

It is that farther, snow-covered mountain to the ex- 
treme right which claims a height of 9,620 feet. The 
nearer mountain, that rises so steeply from the lake and 
ends in an irregular dome or cap, is over eight thousand 
feet high. It looks as if great landslides might sometime 
have broken away parts of the slope nearest to us; in- 
deed that dark hill exactly opposite us has the air of 
having lost a great fragment sometime ages ago. Did it 
fall into the immense depths of the lake? Such land- 
slides, or earth-avalanches, are common hereabouts. The 
old records tell how once a great mass of rock fell from 
the side of the Frohnalpstoek, a mile away on this shore, 
at our right, and how the plunge of the mass into the 
lake sent waves rolling so high that several people were 
drowned here in the village of Sisikon. But that was 
years ago. 

It was something over a hundred years ago (1799) dur- 
ing Napoleon's wars, that a French army passed through 
the village in pursuit of Suwaroff and his Eussian troops. 
Poor Switzerland had a hard time in those days, for, 
though she had no part in the quarrel, she suffered from 
the fact of standing between the combatants. 



72 SWITZERLAND THROUGH THE STEREOSCOPE 

You see that sharp, white line skirting the base of the 
steep slope at our left? That is a part of the famous 
highway known as the Axenstrasse. You can see where 
it enters a tunnel in the mountain-side, then shows itself 
again bordering the slope of the next point beyond. The 
St. Gotthard railway runs along parallel with the car- 
riage road, but lower down, — nearer the lake. The tracks 
run along the shore beyond the village houses and then 
burrow into the mountain-side, where you see the square 
opening below the carriage road. Both railway and high- 
way are exceedingly picturesque from here to Fluelen. 
The roads were blasted out of the sides of the mountain 
and overlook some of the most beautiful parts of the lake. 

It was a short distance beyond that projecting point 
yonder, on this side of the lake, that Tell is said to have 
jumped ashore when G-essler was carrying him to prison. 
A memorial chapel marks the spot, and it is an objective 
point for many a romantic pilgrim. This time we will 
keep to the rock-hewn highway above the shore. 

15* The Bold Axenstrasse. hewn from the Cliffs, 
360 feet above Lake Lucerne 

It is a dizzy height, as we lean out over the lake, and 
you see the rocks above actually overhang the road ahead. 
Until about forty years ago the only way to traverse this 
region was by painful and dangerous climbing over high 
cliffs and icy slopes, up and down and around all borts of 
obstacles, multiplying the air-line distance into some- 
thing many times greater, and spending days instead of 
hours in difficult progress on foot, with some patient 



THE BOLD AXENSTRASSE 



73 



mule to help carry burdens. Now the lake shore gives, 
in its eight-mile length, as safe and secure a road-bed as 
the most luxurious traveller could ask for, and gives him 
these magnificent views on his way to or from the south. 
The St. Gotthard railway and this highway are favorite 
routes from Central Europe down into Italy. " Beyond 
the Alps lies Italy " and "All roads lead to Eome " are 
familiar old proverbs; right here they suddenly take on a 
literal application. Italy is beyond those mountains. 
This road leads to Eome. The very clouds that we see 
rolling up from the south may be bringing Mediterranean 
waters up here into Switzerland to be turned into ice and 
snow. Here in this mountain land we are perpetually 
reminded of the great forces of nature and how they work 
to put the world in shape. At the same time there is 
hardly a country in the world where we find more strik- 
ing evidences of the new formative forces dependent on 
the developing energies of men. Eains and snows, grind- 
ing glaciers, tempests and hurricanes, are still kept at 
work creating Switzerland, but men are helping too, build- 
ing these roads, railways, telegraph lines, steamboats. It 
is a wide variation from the task of the first gardener 
when he was given charge over the earth " to dress it and 
to keep it but it seems to be a natural outgrowth from 
primitive beginnings after all. The sight of these mag- 
nificent heights has nothing depressing in it, even though 
it does bring home to us a sense of our physical littleness. 
What if our bodies are little? The minds that thought 
out this highway and thought out the construction of that 



74 SWITZERLAND THROUGH THE STEREOSCOPE 

steamboat down there are no little things! It is a place 
to rejoice and not to feel afraid. Indeed, who can help 
but rejoice with this heavenly sunshine streaming over 
the precipices and half hiding — half revealing — the ranks 
on ranks of mountains beyond the lake? 

One more look from this wonderful roadway before we 
leave Lucerne. We will look from that tunnel you see 
ahead of us. 

16. Tunnels of the Aocenstrasse overhanging 
Lake Lucerne 

Here we are, burrowed into the side of the mountain, 
with these arched openings to let light and air into the 
rocky tunnel. That massive column separating the two 
arches is, you see, an untouched part of the natural cliff. 
The surrounding rock was blasted and hewn away, leav- 
ing it for a support. Above us is the whole massive 
mountain of rock. 

This is an outlook to delight an artist. The romantic 
suggestiveness of the place would appeal to him, of 
course, — the elevation above the lake, the towering moun- 
tains, the brilliance of the sunshine, the cavernous mys- 
tery of that turn in the tunnel just ahead, the friendly 
simplicity of this farmer's boy with his big basket- — these 
easily make up the " story " side of a picture. But, over 
and above all this, many artists feel the positive beauty 
of the scene itself. They and the poets know that 

" Beauty is its own excuse for being." 

The aspiring lines of those mountains are a joy to the 



LIGHT AND DARK IN LANDSCAPE 



75 



eye just as the notes of a bird are a delight to the ear. 
And just see what exquisite running scales of lightness 
and darkness in color are being performed before our 
eyes. There is the deepest dark of the tunnel ahead; it 
is lighter near the first opening; there is just a gleam of 
brilliant sunshine on the edge of the rock where the 
strongest light falls. Then the hillside, seen through 
that first arched opening, is a little darker again; the 
deeply shadowed side of the stone pillar is darker still, — 
then lighter as the sunshine brightens it. Again there is 
a streak of brilliantly sunshiny rock surface at the right 
side of the pillar. Then comes another dark mass of hill- 
side; then another mass that looks lighter because of the 
sunny haze in the air; then that pyramidal mountain 
fainter and lighter still, — then its snowy peak, — then the 
open sky. It is to our eye almost exactly like what a 
bird's song is to our ear, running from lower notes up to 
higher, down again, — then up, — then down, — then up and 
up and up to the highest note of all. No wonder artists 
delight in outlooks like the one we have here. No won- 
der some of them spend years trying to show the rest of 
us what it means to them! We might study for an 
hour at a time the different musical changes of light and 
dark in this one bit of Switzerland. It is as wonderful 
in its own way as the famous rainbows at Niagara or the 
echoes in a mountain pass. But we can come here again. 
Indeed, this is one of the spots that is sure to draw us 
again to itself. 

Meanwhile the country beyond this lake is calling us. 



New York, May 26, 1902. 
Messrs. Underwood & Underwood, 

5th Ave. and 19TH Sr., New York. 

Gentlemen : — During the past school term I have made a thor- 
ough test of the claims of the stereograph as an aid to instruction. 
After numerous trials I have become convinced that we have in these 
pictures a unique and most valuable device for presenting instructive 
material to the minds of our pupils. Perhaps the word "pictures " 
is hardly applicable to these plastic reproductions that stand out with 
such life-like reality. For all practical purposes it is a reality of 
which we are an interested and charmed spectator. 

The stereograph makes a more powerful impression on the mind 
of the pupil than any other form of pictorial representation I know 
of. The interest and enthusiasm aroused by an intelligent use of the 
stereograph make it a desideratum for every live, progressive teacher. 
I would like to see the 'scopes and views on the school supply list, so 
that they could be ordered and used like any other school device, such 
as charts, maps, books, etc. 

In the practical application of the stereoscope and stereograph in 
class-room work, it becomes necessary to develop methods that shall 
make this aid fit in closely with the course of study. By a careful 
selection of views and planning of lessons, a correlation can easily be 
established between many subjects of the curriculum. The plan lends 
itself especially to language work (conversation, reading, composition), 
geography, history, and nature study. It is applicable to all grades of 
school work, from the kindergarten to the high school. 

I have used the stereographs along the lines indicated, and be- 
lieve they are destined to become an indispensable aid to the teacher. 

A feature in connection with the stereographs as used in geogra- 
phy is the system of maps devised by you. An intelligent use of 
these maps in connection with the stereoscope is bound to dispel the 
many erroneous ideas so prevalent in the minds of pupils regarding 
the meaning and use of maps. I have tested the map feature in the 
class-room with the most gratifying results. 

Very truly yours, 

(Signed) H. Newman, A.M., 

Principal, 



The University of Chicago. 



Having seen the oriental photographs of Messrs. 
Underwood & Underwood, submitted by Mr. W. H ( 
Piper, I am very glad to testify to their unusual 
beauty and value, and to assure the publishers that their 
collection offers to the purchaser a very vivid and ade- 
quate picture of the countries and peoples illustrated. 

(Signed) James Henry Breasted, Ph.D., 

Prof, of Egyptology, 



Syracuse, N. Y. 

I did not think anybody could sell me views of foreign 
countries, as in my travelling I have always bought freely, 
and have hundreds of pictures I have taken with my own 
camera. But these stereoscopic views of Underwood & 
Underwood are so far beyond anything I have ever before 
been able to get that I have bought those for Italy and 
Egypt, and should be glad of the whole series. They 
bring the real scenes themselves before the eye in a way I 
have never before seen equalled. 

(Signed) C. W. Bardeen. 



MA? NO. 1. 




/ 




V. 



mm 



■VIAP NO. a. 




EXPLANATIONS OF MAP SYSTEM. 



SE 



P 3 1902 



3/ 



IBJe '05 



LIBRARY OF CONGRESS 



III III III 






m 


15 811 928 3 



